1909 $5 PR67 Matte NGC. The decade of the 1900s was
characterized by a number of mostly unsuccessful Mint attempts at
"improving" (or at least altering) the quality of proof gold. The
first such change came in 1902 during the Liberty Head gold coinage
era, when the Mint changed from the former mirrored fields-frosty
devices format to a "semibrilliant," contrastless appearance for
proof gold, for reasons that are undocumented and forgotten today.
That format lasted through 1907, when the changeover to the
Saint-Gaudens designs provided the Mint personnel with another
opportunity (if they needed one) to change the surfaces of the
nation's proof gold coinage.
Roger Burdette's Renaissance of American Coinage 1905-1908
describes the different methods that characterize proof gold (and
other coins), paraphrased below (emphasis ours):
Brilliant Proof Gold 1858-1907 (Burdette does not mention the
1902 change). Polished mirrored surfaces and devices, struck
on hydraulic press from new, carefully impressed dies. Dies and
planchets usually polished.Cameo Proof Gold 1858-1907.Polished mirrored fields and
frosted devices (lettering, portrait). Struck on hydraulic
press from new, carefully impressed dies. Only field of dies
polished; planchets usually polished. Seen on proof coins sold to
collectors as consequence of incomplete die polishing. Highly
prized today.Sandblast (or "Matte") Proof Gold 1908, 1911-15.Dull,
nonreflective surfaces. Struck on hydraulic press from new,
carefully impressed dies. Dies and planchets not polished. After
striking, coins lightly sandblasted, like medals. Delicate,
easily marred surfaces.Satin Proof Gold 1909-1910. So-called Roman proof.
Lustrous nonmirrored surfaces lacking mint frost commonly seen
on circulation strikes. Struck on hydraulic press from new,
carefully impressed dies. Hubs lightly buffed before annealing
to remove stray metal. Planchets unpolished, no post-strike
treatment. Easily confused with early circulation strikes made the
same way on normal coining presses.

Burdette continues to describe sandblast vs. satin finish silver
coins as seen on 1921-22 Peace dollars, a discussion that does not
concern us here. The Mint went back and forth from 1907 through
1910, unable to satisfy all collectors' wishes regardless of
whether a "dull" or matte finish were chosen (as for 1908 and
1911-1915), or a Roman or satin finish (for most coins produced in
1909 ad 1910). An Aug. 25, 1910, letter Burdette quotes from famous
numismatist William Woodin to Assistant Treasury Secretary A. Piatt
Andrew sheds light on the debate:

"Your letter of August 24th has just been received. Thank you very
much for your letter to Mr. Landis. I certainly understand your
position with regard to proof coin matters, but it seems to me that
the difference between the dull proofs and the proofs that are now
issued is so great and so obviously in favor of the dull proof
coins, that I should think the Mint Dept. would be justified in
making them, as certainly the most artistic results are desired for
coins of this class that go into the hands of collectors. I can get
quite a number of letters favoring dull proof coins from
collectors, but I could not get all collectors to agree on
anything. They are a very peculiar class of people as a rule, and
you would be amused if you could hear some of their ideas."

To Woodin, the 1909 and 1910 so-called "proofs" represented little
more than imitations of the circulating coinage.
The source for the present anomalous proof Indian Head half eagle
dated 1909, but with matte proof finish, is unknown. Andrew had
campaigned for consistency and a lack of favoritism at the Mint,
and when he became director he ordered the destruction of all
remaining experimental coinage dies, as well as those for 19th- and
20th-century pattern issues. This matte proof from 1909, of course,
required no special treatment aside from sandblasting to produce a
matte surface on a coin that otherwise would have featured a satin
or Roman finish.
The coin is experimental in nature, and undoubtedly traces its
pedigree to someone (now unknown) who was close to its production.
Chief Engraver Charles Barber's antagonism toward outside designers
is well-known and -documented, yet he recognized the inherent
artistic worth of outsiders' coins (such as Indian Head half eagle
designer Bela Lyon Pratt). Barber's estate contained at least six
High Reliefs. It is likewise logical that Barber would have
"collected" experimental strikings of the other coins struck during
the later years in his tenure at the mint.
But the real story of this coin is not the story of Charles Barber
(or whoever was the original source), but rather the story of
Gaston DiBello, the collector who had a penchant for special
strikings and spent time tracking them down. DiBello led an
interesting life. He served in the Navy in World War I, was
president of DiBello Motors in Buffalo, president of the Rochester
Numismatic Society in 1952, attended the Farouk Sale in 1954,
received the Howland Wood Award in 1962, and died of a heart attack
at the FUN show in 1967. His U.S. coins were sold by Stack's in May
1970 and included several experimental finishes on coins from the
American Renaissance period. These special coins include: 1909
matte proof half eagle, 1907 Roman Finish eagle, 1907 matte proof
eagle, 1909 matte proof eagle, and proof MCMVII double eagle.
Garrett and Ron Guth wrote of this coin:

"A single matte Proof is known of this date; it was struck in the
same style as the 1908 matte proof issue. Its existence was first
reported in Stack's DiBello Sale; later it realized $17,000 in
Stack's session of Auction '81, lot 1868. The coin was recently
certified by NGC as PF-67. There was considerable experimentation
with Proof finishes for the 1908 to 1915 half eagles. Public
reaction to the matte and Roman surfaces was lukewarm at best; the
brilliant Proofs of years past were much more preferred."

Earlier, Walter Breen recorded the DiBello coin as the only known
matte proof of this issue. In cataloging the DiBello Sale in May
1970, and later when the piece reappeared in Auction '81, Stack's
labeled the 1909 matte proof half eagle "unique." In 1909, Mint
records show that 78 proofs were coined. Garrett and Guth
speculated that 77 of those pieces are the Roman Finish proofs, and
just one coin was minted with this matte finish. This is definitely
the DiBello-Trompeter specimen, as seen by a faint, vertical flare
of shininess just above star 2. Given the similarities of this
piece to the earlier 1908 proof half eagles, we might speculate
that this 1909 matte proof half eagle was the first piece struck
that year.
The piece is essentially flawless, as one would expect from the
Superb Gem grade, with rich orange-gold coloration and the surfaces
are reminiscent of the deeper, coarser-grain finish seen on 1908
proofs. The remarkable state of preservation of this piece might
lead the viewer to conclude that its original recipient was aware
of its special status, as it has been lovingly preserved in the
intervening years.Ex: Gaston DiBello, Part II (Stack's, 5/70), lot 1004; Auction
'81 (Stack's session, 7/81), lot 1868; Trompeter Collection, sold
by private treaty, 1998; Pre-Long Beach Auction (Goldberg's, 2/06),
lot 1216; plated on page 309 of the Garrett-Guth Encyclopedia
of U.S. Gold Coins.(Registry
values: N10218) (NGC ID# 25ZS, PCGS# 8540)

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